TUTTI CELLI CONTENTS-- volume 4, issue 3,4

New Members' Message
ICS News and Announcements
3000 members from 66 different countries
John's Jabber
Membership Letters

Featured Artist -- ICS Exclusive Interview!

Membership Spotlights

Special Report

Cello Scene

Masterclass Review

ICS Award Website
ICS Cello Chat Board
Music Festival Watch
ICS Library
Announcements Andre Navarra Anniversary
Other Internet Music Resources


http://cello.org/The_Society/stats .htm
ICS has almost 3,000 members. There are three new countries represented by our membership: Barbados, Lebanon and Virgin Islands, for a total of 66
countries. Here's the total list of 66 countries:
Argentina, Australia, Austria, Barbados, Belgium, Brazil, Canada, Chile, China, Columbia, Costa Rica, Croatia, Cyprus, Czech Republic, Denmark, Dominica, Ecuador, Finland , France, Germany, Greece, Guatemala, Guinea-Bissau, Hong Kong, Hungary, Iceland, Indonesia, Ireland, Israel, Italy, Jamaica, Japan, Latvia, Lebanon, Liechtenstein, Luxembourg, Macedonia, Malaysia, Mexico, Netherlands, New Zealand, Norway, Philippines, Poland, Portugal, Puerto Rico, Romania, Russia, Serbia, Singapore, Slovenia, South Africa, South Korea, Spain, Sweden, Switzerland, Taiwan, Thailand, Turkey, UK, Ukraine, United States, Uruguay, Venezuela, Virgin Islands , Zimbabwe

We welcome some youth to our helpful ICS Host panel! Christine Kempe at ckcello@juno.com, is a 17 year old cellist with lots of orchestra experience at the high school level.

Tracie Price has come on board as an Assistant Tutti Celli Editor. She has been busy helping our international members translate their articles for our newsletter.

Webmaster's report, for the next Tutti Celli: May 15, 1998
Among a multitude of minor adjustments, fixing links, etc., the webmaster has added a few new items on the Internet Cello Society pages:
1. A nice new banner logo for our front page.
2. Lots of new free pages for cellists, linked under pros and amateurs.
3. New pictures of the week.
4. Newly re-written article on the origin and construction of the cello.
5. Several new additions to "Great Cellists of the Past. "
6. Updates to Camps and Festivals, and donors.
7. Better search capabilities.
8. Coming in June: "Joys and Sorrows," the autobiography of Pablo Casals,
the entire book, with many photos.

FLASH! webmaster (our webmaster) has just changed his email address to webmaster@cello.org. Please write him there if you need to. He will be changing his link on all our ICS pages this weekend.

New link to Orchestras Around the World. We have linked to this on our left-hand index. Thanks to the New Zealand Symphony Orchestra for a fine resource!

There is a new cello club in South Africa, the "Cape Town Cello Club. "

New articles about "wolf tones" and "stage fright" have been added to our Cello Tips On Technique Pages.

**ICS could still use volunteers to serve as TUTTI CELLI Editors, Reporters, Writers and Reviewers; ICS Fundraisers; and Forum/Cello Chat Hosts


The Internet Cello Society is going through a transformation. In response to growing demand, Paul Tseng will be initiating a separate CelloChat area for our more youthful members. Our webmaster Marshall St. John continues to keep the ICS website updated with more and more valuable information. Tim Finholt has stepped forward to become the new editor of TUTTI CELLI. Tim has had many years of experience as past editor of the Seattle Cello Society newsletter and has had articles in Strings and Strad. Hopefully this will allow me to communicate more frequently with members and more time to administrate the other aspects of the Internet Cello Society.


**If you would like to respond to something you have read in 'Tutti Celli', write to director@cello.org and type "Membership Letter" in subject field. (Letters may be edited.)**

Congratulations to the page. It has really gone a long way since I saw the net. Every change made was really better than ever. I had to make this comment when I logged on 1 second ago. It looks very appealing and professional and the color combination was great. Once again, congrats and I think it's really difficult to beat this change and bring it to the next perfection.

[reply to concern of inaccurate information in "Cello, and Essay"]
**Dear Mr. Markevitch,
Indeed the Essay was the work of a younger student, and it is inappropriate to propagate such inaccurate information. I will send a copy of this reply to our ICS webmaster requesting that the article http://cello.org/cnc/article.htm be removed immediately. The demand for information on the Internet is overwhelming and sometimes quantity compromises quality. I founded the Internet Cello Society with the hope of providing information on the cello to the global cyber-community in a coherent, organized manner. Unfortunately, I have not received as much expert assistance in developing quality content as I had anticipated. Everyone is willing to read but few are willing to do the work to contribute valuable and accurate information. The Internet Cello Society would be greatly honored if you would consider writing a substitute article about the history of the cello.
Sincere apologies,
John Michel
(Since the writing of this letter, Marshall St. John has reposted the article with the suggested corrections. )

[letter on Tim Finholt's Bach article]
Great article! I just skimmed it and will read it more thoroughly when I have time (i. e. , probably not at work!) Only yesterday I was comparing bowings for the Bourree from the third suite for my friend's daughter, who is nine, and she asked why we didn't "just play it the way Bach wrote it?"
Thanks again for sharing all your hard work with the rest of us,

Greetings and thank you for your unselfish work and devotion to this global effort. I am a 67 years old cello novice, trying to self-instruct after beginning almost 4 years ago. This site will be very encouraging and enlightening.
San Rafael, CA

I live in the Netherlands, even though my contacts with France and Italy (my home country) are quite frequent. I want to thank you again for the big work you are doing to make the "cello" people happy, adjourned, in contact, in one word, a supra-national group of "friends"
The Netherlands


by Tim Finholt

Arto Noras appears regularly with major orchestras throughout the world and has recorded extensively. A former student of Paul Tortelier at the Paris Conservatoire, he was a runner-up at the Tchaikovsky Competition in 1966. He is also well-known for his appearances as a distinguished chamber musician and is a founding member of the Sibelius Academy Quartet. He is also the founder and artistic director of the Naantali Music Festival, as well as founder of the International Paulo Cello Competition. Since 1970, he has been Professor of Cello at the Sibelius Academy.

TF: You studied with Paul Tortelier. Were you the student he worked with for six hours on the first note of Schelomo?

AN: No, we did that with the opening scale of the Bach's Third Suite Prelude. If he liked a student, he would put a lot of effort into his teaching, and would work the student relentlessly. But, if he didn't like somebody, the lesson would last only five or ten minutes. Fortunately, I was on his good side, so he taught me very profoundly. His teaching method was not very democratic. He was a very dominating teacher, insisting that we play at least once the way he wanted, with his fingerings and with his voice. His ideas were very complicated, particularly in Bach, so it took a long time before he was satisfied. But as soon as he was happy, he stopped immediately and said, "Now you are free to do whatever you like. " His teaching method was also very liberating in a way. Once you demonstrated that you could play superbly in his way, he believed that you had attained the skills to play superbly in another way. The euphoria and relief of finally getting it "right" gave me a great sense of satisfaction.

TF: Did he teach primarily with words, or did he demonstrate a lot?

AN: He seldom taught without the cello, demonstrating constantly, but he was also a master of description, and knew exactly how to describe what he wanted. He once told me that he always had a picture or story in mind when he played, though I don't remember what they were. I often wondered whether he always had the same imagery for each piece, or if the pictures changed.

TF: Looking back, are there some ideas he taught that you disagree with now?

AN: I studied with him over thirty years ago, so my own ideas have certainly developed since then. For instance, our ideas on Bach differ. Tortelier probably played Bach every day for fifty years, changing his bowings and fingerings constantly. After years of work on the Suites, his Bach, though fantastic in his way, became very complicated. He studied, for example, the Sarabande of the C minor Suite all his musical life, a movement that Bach probably wrote in 4 minutes. After so many years of study, his interpretation was piled with layers and layers of meaning, more meaning than Bach probably ever envisioned. It's as if you study one stone in a wall for twenty years. Naturally you know your stone very well, but it becomes difficult to explain the character of this stone to others, and you may lose sight of the fact that this stone is only a small part of the wall.

TF: How do you approach the Bach Suites? Do you strive to play them in a more Baroque fashion, or do you have a more contemporary approach?

AN: I prefer not to perform Bach these days. It has become too complicated and too controversial a subject. This becomes evident in competitions, for example. When the jury listens to Haydn, Beethoven, Brahms, or Dvorak, everybody pretty much agrees upon whether the performance was good or bad. But when somebody plays Bach, some of the judges hate it, some love it, and the rest don't say anything at all! The normal way to approach a composition is not enough for some reason when playing Bach. I am not allowed, by some groups, to apply all my knowledge and experience of music and music-making and perform Bach the way I like it. No matter what I do, somebody will be offended. I can play it with or without vibrato, legato or with separate bows, with a variety of tempos, and so on, and somebody is guaranteed to hate it. There are no rules with Bach, which I find to be very irritating! Violinists are lucky, since they don't face this problem with their solo Bach works. And do we really want to play Bach the way it was actually done back then, with amateurish scratchy technique and out of tune? I don't think so.

TF: It sounds like you don't have much sympathy for the Authentic movement.

AN: I love the Bach Suites, but I think they should be played like the other compositions we play today, with all the possibilities we have available. I remember when Itzhak Perlman recorded the solo Bach works for violin. After the CD was released, he was interviewed on television by a musicologist. When the musicologist started grilling him about his style, Perlman replied by saying something like: "Look, sir, when I recorded the Bach, I tried to remember everything I was told by my teachers when I was in school in the United States. I then drew upon my experience of six thousand concerts since then. I did my best, applying my experience of playing Mozart, Beethoven, Brahms, and so on. I also tried to apply what I understood about Bach, and to apply everything we have learned since Bach, in an effort to approximate how I think he would have liked it, if played in the modern style. If that isn't good enough for you, I am sorry. " Bravo, Mr. Perlman!" I worry that if we restrict ourselves to playing in a style of the period when a piece was written, we will lose our audience. This applies to all music, not just Bach. In a hundred years, I'm sure we will play much better, so why imprison ourselves, both technically and creatively, when we will have even more possibilities available to us? We must allow ourselves to grow, whether we are talking music, art, architecture, or literature. Remember that composers didn't necessarily play the instruments they composed for, or at least were not experts. So they probably never heard the works the way they heard them in their heads as they were composing. The music they envisioned in their minds was not scratchy, uneven in tone, or out of tune, the way it probably sounded in Bach's day. I think Bach would be thrilled to hear his music played by a modern cellist, with our modern technique, style, and instruments. This discussion makes me so angry!

**The complete transcript**


edited by Tracie Price

I am eighteen years old and have been playing the cello for a long time, and now after some ten years, I have begun to love it. I also play the guitar, because my father and brothers all play the violin and when we traveled they took their violins everywhere, but I could never take my cello. I'm not playing professionally, and am probably not going to. I study at a French bilingual school here in Bratislava, which is a city of three languages, German, Hungarian and Slovak.

I play the cello because my uncle is one of the most important Slovak cellists. Perhaps you know the name Slovak Chamber Orchestra? He traveled with them around the globe until three years ago, when they broke up. I wrote about him to a doctor on your page who can prepare homepages for cellists.

Last week Robert Cohen was here in Bratislava, I am sure you know him. He taught a masterclass, which was the best I've ever seen and heard. There were other cellists there who might not have been as excited about the class, but I don't think so. The next two days he played the Elgar Cello Concerto in the philharmony hall. Elgar is not played here very often. The entire audience was excited, as was my uncle who sat at the soloist's left. He then gave two encores, Bach and Paganini's Rossini Variations.

I played in an ensemble of nine cellists last year. We played one concert, and after several rehearsals this year, the leader, Professor Podhoransky, left for Japan. Now they're trying to give it a rebirth, so I am going to participate. Except for this, there aren't a lot of cello events here, and it is often difficult to get information. For example, I heard from the radio that a well known foreign cellist was here, organized by the Institut Francais, and when I was in the Institute a day before the concert, I hadn't noticed any announcement about it.

Our city has a wonderful atmosphere, the three cultures have been mixing for centuries, so it's nice to live here.
Alexander (George)


I'm a cello student studying at the University of Stellenbosch. Our music department is the best in South Africa and is amazingly well facilitated. There are currently 6 under-grad students studying cello as their principle instrument and all 6 are doing a performance course. We all study with Dalena Roux, an exceptional person, musician and teacher. She is always looking for opportunities for us to perform as a group and as soloists, which is fantastic, because performance opportunities in SA in general are very few and far between. Furthermore, she has introduced us to the world of cello ensembles: the music composed for this medium, the sound possibilities, and its potential to be taken more seriously.

We are not the only cellists interested in cello ensemble music, however. In fact, there are many impromptu ensembles throughout the country, and a permanent group, "Cellisimo" has recently been founded. This has inspired a number of our local composers, young and old, to compose more music for this medium, which is fantastic as the repertoire is fairly limited and groups often have to resort to arrangements of other works (many of which work extremely well, mind you!).

We would love to hear from other such groups around the world, and about repertoire as finding new and unusual music in South Africa is often impossible.

Deryn Yuill


by Tim Finholt

What a wonderful cello festival! It has been a couple of weeks since I returned, and I still catch myself daydreaming about my experience. And how could I not, when such a galaxy of cello stars were present: Steven Isserlis, Janos Starker, Miklos Perenyi, Natalia Gutman, Ralph Kirshbaum, Arto Noras, Boris Pergamenschikow, Siegfried Palm, Tsuyoshi Tsutsumi, and many more. To hear but one of these musicians in an evening would sustain me, but to hear them all...!

As will be apparent in this report, I mainly went to enjoy the music and to celebrate the cello, not as a critic. Of course, there were performances that were eyebrow raising, but only a few. So please bear with me as I mostly enthuse about my experience, like the closet rabid fan that I am.

The festival opened Wednesday night with a monumental cello and orchestra concert, which was broadcast live on BBC radio: Haydn D Major Concerto performed by Miklos Perenyi, a new work, "Cello Dreaming" by Peter Sculthorpe, performed by Steven Isserlis, Shostakovich 2nd Concerto performed by Natalia Gutman, Lutoslawski Concerto performed by Boris Pergamenschikow, and Saint-Saens Concerto performed by Arto Noras, all with conductor Yan Pascal Tortelier, son of you know who. Tormented by intense jet-lag, I had to leave after the Shostakovich, but what an inspiring concert!

Perenyi played beautifully, of course, throwing in a cadenza in the last movement of the Haydn too. I was struck by his shy, head-down demeanor as he played. He is a master, and yet he projects a persona of gentle shyness. I wish I had found a chance to speak with him.

"Cello Dreaming" is a piece for amplified cello and orchestra, which I actually found to be a little repetitive, though others described it as "evocative. " Unfortunately, as the music intensified near the end of the piece, the amplifier started squealing with feedback. The volume was quickly turned down, but this ruined the emotional impact of the climactic ending. After making a crack about BBC not having a decent amplifier, on live radio that is, Isserlis opted to play the last few minutes of the piece again, which I'm sure the composer, who was present, greatly appreciated.

Natalia Gutman has made the Shostakovich concerti her own, which should come as no surprise. She played with great power, intensity, and depth. It was also wonderful to see a woman who has reached "master" status, which I don't think we've seen since Jacqueline du Pré.

Siegfried Palm, honored at the festival for his lifetime of championing contemporary music, performed in recital the next evening. There are many pieces in his repertoire that few can play even today, since the general knowledge of contemporary technique is still very limited. His program included Zimmerman Solo Sonata, Penderecki Capriccio, and Hindemith Kammermusik No. 3, op. 36 No. 2.

Particularly striking was the Penderecki, which calls for some quite remarkable sounds from the cello. He tapped his fingers on the body of the cello, and plucked or hammered the strings with his left hand --relatively common effects. But I learned some new ones, like bowing on the strings below the bridge at an EXTREME angle, which produces a rather piercing and grating squeal, much more jarring than when one plays with a straight bow. A pleasantly dull sound was produced by bowing on the cello's tail piece, which appeared to be pre-rosined. With so many extreme sound effects, the audience could not help but enjoy this piece.

**The complete transcript**

by Natalie Williams

It's always an exciting time when the year of the Cello Festival arrives at the Royal Northern College of Music. When the schedule for the String Department's year comes out in September, it's nice to flip through to the months of April and May and start to wonder what the Festival's going to be like. I actually ended up in Manchester as a result of coming to the Cello Festival in 1994. One day I was flipping through the Strad magazine, saw the advertisement for the Festival and managed to convince a friend to come with me to Manchester. During my week there, I was overwhelmed by the standard of playing in Manchester and by the spirit of the College. At that time I had just finished my third year at the University of British Columbia and had started contemplating where I'd like to go for a Masters' degree, and attending the Festival made me wonder if I'd like to come here. And it turned out that while I was in Manchester that week (with my cello which I dragged all the way here) I did an audition for the Head of the String Department and got accepted. I started here in September 1995 as a postgrad. cellist and this year I was taken onto the staff as a 'Junior Fellow' and a 'Scholar in Chamber Music' with my piano trio (the Saskia Piano Trio including two colleagues that I met at the R.N.C.M. ). I've now lived through 2 Festivals as an R.N.C.M. student and the '94 Festival as a delegate, so I've experienced two different sides of the coin. This report will give you a summary of the entire festival, as well as giving you the occasional tidbit of behind the scenes information!

Early April:

Sometime in the second term various resident cellists get asked to participate in the Young Artists' Recital. Some people get a chance to play a solo, some a duet, but most of the older cello students are put into a group of some sort. This year I was asked to play in an international cello ensemble, involving R.N.C.M. students from China, Holland, Canada (me), Germany, Argentina, Australia and Spain. ) At the end of the second term we started rehearsals on Villa-Lobos' Bachianas Brasilieras #5 (with Swedish-Australian soprano Anna Ryberg, who is also an R.N.C.M. student, and recommenced on April 20 to make the final preparations for the concert.

**The complete transcript**


by Sarah Acres

Formed in September 1997 the Cape Town Cello Club is for all those who play or find the cello fascinating. Our current members include both amateurs and professionals, students and teachers and many non players who just love the cello.

A newsletter, concerts, master- classes, workshops, talks, videos and cello gatherings are but a few of the exciting events planned. We are affiliated to the British Cello Club and the Internet Cello Society.

Many of our members have participated in and observed four different masterclasses given by German cellist Maria Kliegel , Norman Fischer from America, JanErik Gustaffson from Finland and British cellist Jonathan Beecher. Four teachers each with his or her very individual style and each of who did a lot to help the club to grow.

Our teachers' workshop, given by Norman Fischer, was a lot of fun and gave the teachers a chance to tackle some of the teaching difficulties they encounter from time to time. All of us got a lot of inspiration and stimulation from this day, and subsequently we organized a talk on the Suzuki method of teaching given by ex south African cellist Glenda Piek on a visit to Cape Town.

The Hugo Lamprecht Music School in Parow suggested and hosted a Christmas concert for all cellists under standard five. Not only did everyone play a solo but also as part of an ensemble group playing carols. Everyone had fun and it has created a lot of interaction between the children from different areas.

Sarah Acres, Coordinator


by Tim Finholt


a. Use the entire body to pull the bow on string, not just the arm. Make sure the body is rotated appropriately for each string. Don't allow body to remain in a fixed position.
b. The bow fingers should not flex too much at bow changes. Have flexible fingers, but don't have overt finger motion.
c. The bow stroke is just a small piece (or sector) of an overall arc motion in which the bow arm travels. The theoretical arc extends beyond the bow extents.
d. With quick short bows, don't just use the wrist, use the entire arm.
e. With quick short bows, practice bowing on open strings so that you are sure which string you are supposed to be playing.
f. Don't hold the bow at the ready when starting. Approach the string when it's time, in rhythm with the music, like a conductor's upbeat.
g. Upbow staccato - Release pinky finger, dangle wrist, lower elbow, and rotate wrist clockwise for each note.

Left Hand
a. Be sure to bring the left arm over when playing on the C-string. Don't just try to reach over with the fingers.
b. For a relaxed vibrato, make sure your hand is loose.
c. Don't use as much vibrato on pizzicato notes as you use on bowed notes.
d. When leaping to the fourth finger, really swing hand towards the fourth finger so that the note is articulated.
e. Be conscious of which finger is the connecting finger when shifting.
f. The arm should follow the hand, especially in thumb position. If it doesn't, you lose your solid foundation, since the hand is rotated.
g. For a dry pizzicato, pluck more vertically and stop string with left hand.
h. For fast notes, don't just practice blocks of notes, practice the transitions between blocks.

a. Always vary repeated pitches musically. They are always going somewhere.


a. Dvorak Concerto - Being heard is difficult since the cello is in the mid-range of the orchestra.
b. Dvorak Concerto - One doesn't need to worry about style issues, like in Bach. Just think about the message of the music.
c. Dvorak Concerto - When studying this piece, the key concept is "sound. "
d. Haydn D Major Concerto (First Movement) - The first and third beats are the most important. Feel the music in four or even two beats per measure, not eight.
e. Haydn D Major Concerto (First Movement) - This piece is a huge test of a musician's creativity and sensitivity, since it is somewhat repetitive and very exposed.
f. Haydn C Major Concerto - When studying this piece, the key thing to work on is left hand technique.
g. Crescendos - Per Pablo Casals, it is more natural to crescendo on an upbow, so try to arrange your bowings so that this happens.
h. Sequences - They must go somewhere, either crescendo or diminuendo.
i. Generally speaking, crescendo when the notes go up and vise versa.


a. Shostakovich Concerto No. 1 (First Movement) - Don't play everything with a crunchy forte character. A variety in color is needed since the piece keeps going in the same direction.
b. Shostakovich Concerto No. 1 (First Movement) - Be sure to articulate the small notes.
c. In difficult spots, be sure to give yourself time to get the hand and finger there first.
d. Bring the hand and arm over when playing on the lower strings.
e. Be sure to articulate all notes, not neglecting the ones before and after a down shift.
f. When doing vibrato in thumb position, release the thumb. Play with
g. Something must happen when five notes are the same. Play with variety.
h. Don't prepare the hands way ahead of time when not playing.
i. Bach 6th Suite Sarabande - Use more bow expression and less vibrato.
j. Bach 6th Suite Sarabande - Try to minimize left arm motion, so it doesn't sound so panicked.
k. Bach 6th Suite Gigue - Don't crunch the chords.
l. Bach 6th Suite Gigue - Use less bow, playing mostly in the lower half.


a. Debussy Sonata - Don't immediately get soft when you see a diminuendo. The diminuendo just starts there.
b. Debussy Sonata - Near the end of the second movement, there are two pizzicato open C strings. Pluck the second one at the half-string position so that you don't stop the ringing of the string after the first pizz.


a. Beethoven A Major (First Movement) - Don't slide on the opening fifth (A to E). Play as simply as possible, giving this motive more dignity, matching the articulation of the piano, which comes in with the same theme a little later.
b. Beethoven A Major (First Movement) - Play the opening as one long line, keeping the pulse going (in two).
c. Beethoven A Major (First Movement) - Avoid slides when shifting up a fourth (i. e. E to A)
d. Beethoven A Major (First Movement) - The two grace notes, as in places like measure 27, should be before the beat so that you land right on the beat with the main note.
e. Beethoven A Major (First Movement) - The triplets in places like measure 36 should be played in two, in order to keep the pulse going.
f. Beethoven A Major (First Movement) - Many years ago, when Ralph Kirshbaum played in a master class and he altered the rhythm significantly, the master cellist just said, "It's a pity. "
g. Rococo Variations - Play a little more Tchaikovsky and a little less rococo.
h. Don't make every note special, otherwise none will be.
i. When shifting, move the hand and arm as a block.

**The complete transcript**


**Please notify John Michel of interesting websites that you would like to nominate for this recognition in the future. Websites will be selected based on their content, cello relevance, creativity and presentation style!


*** If you would like to ask a question, discuss an issue or get some expert advice, post a message to the official ICS message board called CelloChat . ICS forum hosts have been asked to check your posts regularly. In this way not only do the forum hosts see your message but the entire membership and Internet community! You are still welcome to contact the forum hosts directly*** Write all ICS Hosts or contact one host representatives.

>>Hello. I'm a cellist who has been enjoying your site, especially cello chat. I have a concern, however. Some of the younger cellists are posting teachers (or whoevers) personal phone numbers to the board. It might be a good idea [to remind members that] private email is much better. The internet is no place for posting peoples private numbers without their consent.
A concerned female cello teacher ;-)
**I agree and would like to remind ICS members that posts on the CelloChat can be read by anyone on the Internet.
John Michel

[reply to inquiry into legends about cellos]
Jean Louis Duport (I think) was a great virtuoso in Paris from around the time of the French Revolution until the early 1800s. He performed often for whoever happened to be in power...So the story goes that he played for Napoleon, and the Emperor wanted to try his cello. So Duport says, OK, and as Napoleon seats himself at the instrument, his ornamental spur digs a big gouge out of the instrument.
Apparently this cello was later owned by a modern player, Casals or Rostropovich, and the spur mark is still there. Memory doesn't serve too well on this one, but I think I read it in Casals' autobiography? Or maybe Lev Ginsberg's History of the Violoncello (great book, if you haven't seen it).
Good luck
Bret Smith



International Music Academy, Kromeriz, Czech Republic
A Three Week Advanced String Program
July 13 - August 2, 1998
Dr. Harry M.B.Hurwitz

Icicle Creek Chamber Music Institute
for college and advanced high shool students
in the Washington Cascade Mountains
July 25 - August 8, 1998

Galena Chamber Music Institute (high school/college age)
summer camp with Chicago Symphony
August 2-17, 1998

ARIA International Summer Academy
University of W. Ontario, London, Canada
Prestigious cello faculty
August 3-23, 1998

Workshop/retreat for adult amateur & beginning cellists
Led by Lisa Liske-Doorandish & Jonathan Kramer
Craig Springs (near Blacksburg) Virginia
August 11-16, 1998
Information from Lisa (540) 961-0119

Summerkeys program for adult amateur cellists
Lubec, Maine August 24-28 and August 31 - Sept 4

Cello-Masterclasses with David Geringas, Bernard
Greenhouse and Frans Helmerson

Kronberg (near Frankfurt) Germany
September 26 - October 2, 1998

Roberta Rominger

***If you have announcements, comments or reviews of music festivals, please contact Roberta Rominger***


If you know of cello society newsletters, bibliographies of music, teaching materials, references, indices, lists or articles that should be added to ICS Library, please send data to director@cello.org. (Library contents will be available to all Internet users; please include author and written statement of release for unlimited or limited reproduction.)


Andre Navarra Anniversary
by German Prentki

July 30th 1998 will mark the 10th anniversary of Andre Navarra's death. Navarra is recognized as one the great cello pedagogues of the 20th century, representing the French School of Cello Playing.
The son of a bass player, Andre was born on October 13, 1911 in Biarritz, France, and began his cello studies at the age of nine with Professor Ringeisen. He gave his first concert when he was 11 years old. He continued his studies at the Conservatoire Nacional de Musique de Paris with Jules Loeb in 1926.
In 1928, he substituted for cellist Pierre Fournier in a string quartet, with whom he premiered Milhaud's 2nd and Hindemith's 1st string quartets. The next milestone of his career was winning first prize in the Vienna Cello Competition (1937), after which he started touring Europe and gaining fame on a world level.
In 1949 he became Professor of the Conservatoire National Superior de Musique de Paris. Following this position, he taught at several schools, including Hochschule Musik in Vienna, Musikakademie in Detmold, Germany, and Academia Chigiana a Sienna (Italy). He was still teaching at the Academia Chigiana at the time of his death on July 30th, 1988. On June 26th, 1998, at Salle Pleyel in Paris, a concert in honor of Andre Navarra's great accomplishments will be held. Yo Yo Ma will play the Dvorak Concerto with the Orchestra Philharmonic Radio France under Marek Janowski, and Valentin Erben from the Alban Berg Quartet will play the Faure Elegy. There are plans for a Navarra Competition in the works.

The Second Witold Lutoslawski International Cello Competition is going to be held in Warsaw, Poland, February 14 - 21, 1999, and is open to cellists of all nationalities born after Dec. 31, 1974. The deadline for sending an application is Oct. 30, 1998. Jury: Kazimierz Michalik, Chairman Elias Arizcurenm Stanislaw Firlej, Tobias Kuhne, Ivan Monighetti, Walter Nothas, Milos Sadlo, Natalia Shachowskaya, Roman Suchecki. Program: 1st round Sarabande and Gigue from one of the Six Bach's Suites; one of the Piatti's 12 Caprices Op. 25; one of the following sonatas: Locatelli in D, or Valentini in E, or on of the Boccherini's 32 Sonatas. 2nd round: Obligatory Lutoslawski's Sacher Variation for Cello solo 3rd round Obligatory Lutoslawski's Grave. For the rest of the 2nd and 3rd round program as well as for detailed information contact the organizer: Foundation for the Promotion of Young Celists, ul. Sokolowska 29/37, attn. Bogdan Palosz 01 142 Warsaw, Poland tel. (22) 632 8497, fax (22) 632 7419 In North America you can obtain these informations and appplication forms by calling (812) 323 8688 or sending a self adressed, stamped envelope to: TJW, 3619 Longview Ave. Bloomington, IN 47408.

'Holiday for Strings' - workshops for Violinists, Violists and Cellists Brolga Creative Workshops is holding two July workshops for violinists, violists and cellists. Advanced players will attend on Wednesday 8th and Thursday 9th July, and Elementary/Intermediate players attend on Friday 10th and Saturday 11th July. Children from age 6 to adults (age unlimited!) are most welcome. We have invited dedicated, high calibre tutors and conductors to assist cellist Sue Trainor, Brolga's Music Director, at the workshop. Our repertoire consists of chamber works suited to the different standards of the players who attend. Pieces range from Baroque concertos to popular items specially picked for the workshop from Sue Trainor's extensive library. There is always something different and unique! brolga@alphalink.com.au
phone: 613 9338 8993.

Announcing the publication of "Vocalise" for Solo Cello by composer Brian Nelson:
"Vocalise" is a lyric, one movement piece for Solo Cello. The title refers both to the character of the music and to the intrinsic vocal quality of the instrument itself. "Vocalise" received three outstanding premiere performances this past April by cellist Paul Gmeinder of Present Music in Milwaukee, all to wonderful reviews from both professional musicians and lay people. A recording of the last of these premieres will be featured on Wisconsin Public Radio's "Music From Wisconsin" program in August. Brian Nelson Phone & FAX: 608-273-8449

Gadfly Records is proud to announce the following new releases: Gideon Freudmann/Ronnie Nyogetsu Seldin "Sound of Distant Deer" (Gadfly 506) - -- many know Gideon as the most inventive and original cellist around and a quirky singer/songwriter with an undeniable style all his own. This release combines that force with Ronnie Seldin, America's foremost shakuhachi (Japanese flute) virtuoso (he runs the world's largest shakuhachi school outside Japan). This CD combines traditional and original pieces, along with improvisations, for a unique listening experience. This is the only cello- shakuhachi duet album in the world!

Valises Aluminum Rouillard has been selling musical instrument cases all over the world since 1986. Home-made cello cases come recommended by musicians and also by the airline company Inter-Canadian. Thanks to being robust yet still lightweight.
Our cases are made to measure in order to assure maximum protection of your instrument. Only the highest quality materials are used. Here what each case is made of :
Aviation Aluminum
Leather handles
Piano-hinged lid
Removable suspension wheels.

***All members are welcome to post announcements or news that are pertinent to our global cello society. Send information to director@cello.org***


The Crossword Column
this month devoted to classical music and musicians
http://members.home.net/ cschnebel1/xword9.htm

Method For The Preparation Psyco Physical Of The Musicians

Classical music articles of online magazine WELCOME TO FINLAND:
"Maestro of maestros - Jorma Panula"
"Creator of the Mikkeli Music Festival - Valery Gergiyev"
"Young Finnish conductors: Oramo - Salonen - Saraste - Vänskä"


Gagliano Recordings
http://www.sirius.com/~arts/gag liano.html

Berklee College of Music is proud to present our Summer String Fling
from July 30 -August 1, 1998
http://www.Berklee.edu/htm l/pm_summstring.html

**ICS NET Resource Editor: Deborah Netanel at netaned@email.uc.edu

Copyright © 1998 Internet Cello Society

Direct correspondence to the appropriate ICS Staff
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Director: John Michel
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